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Friday, August 3, 2018

#Musicproduction: How To Ruin Your Career (Part 2 of 3)

Before I pivoted to artist development and music production, I spent a long time being an artist. I was a guitarist in a group, singer/guitarist in another, and eventually went solo as a singer/songwriter, fronting my very own band. Since I didn't really result from a really musical family, I learned to become a do-it-yourselfer. Although there were a lot of great items that I learned as a DIY'er, I missed from even more valuable information, which hindered my success at the time. I failed to take advantage of the years of experience and knowledge from most of the industry contacts that I might have met, because I didn't fully trust in their advice. As an emerging artist, this will prove to be a deadly career move. Sometimes the insecurities of being an artist can manifest themselves in self-sabotaging ways.

Ruin Your Career - Way 2 of 3

Within my early days of artist development and music production, I was hired as a songwriter to greatly help a company and his team to produce an artist. This artist was also very talented, attractive, and had a powerful voice due to their genre.
After co-writing several songs with the artist for almost a year, an upstart management team with some B level connections heard of the artist and decided to have involved. On the merit of the material itself, the artist could get strong interest form a significant label.
Regular in-person meetings with the label resulted in the suggestion that another production team, with a huge hit on the charts in those days, use the artist short-term, to see what they might appear with. Record labels are notorious for mixing things up with creative teams- despite the fact that much data points to negative results produced from that strategy. The label covered a development deal for the artist to utilize the alternate production team, spent additional expenses for travel and lodgings, and the project yielded two mediocre songs over a few days that didn't hold as much as the task the initial production team had done with the artist. Hardly surprising, as the initial work was developed over months of discussion, introspection, and trial and error to have the best fit.
Nevertheless, after having a small taste of some short-term, material perks and attention with a major label, this artist convinced themselves that writing with multiple other teams was the most effective use of their energy. This strategy is hardly a negative one when supplemented to a core team, except that the artist simultaneously chose to abandon the path they certainly were on with the initial team. This was inspite of the feedback that had indicated that the label interest wasn't only in the their voice and persona, in the songs that the core team had written- songs that have been potentially hits because they defined the artist within an artist-specific way, that only a team that caused the artist long haul, and cultivated a sound having an artist, could produce.
Yet again, this artist's career fizzled and the window of opportunity closed because they refused to heed the advice of the decades of experience they certainly were surrounded by.

Links to all three articles: (every day one article)
How To Ruin Your Career Part 1
How To Ruin Your Career Part 2
How To Ruin Your Career Part 3